It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The acting in this movie is really good.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Philo Vance (William Powell) is on the case of a showgirl named "The Canary" who was murdered in her locked apartment. The suspect list includes a number of men The Canary was blackmailing and all were in the vicinity of her apartment the night she died.Unfortunately, the backstory behind the making of The Canary Murder Case is much more interesting than the movie. Originally, The Canary Murder Case was to be a silent picture. But at the last minute, the studio decided to turn it into a talkie. Scenes had to be re-shot and lines had to be dubbed. But one of the film's stars, Louise Brooks, refused to participate. The studio hired another woman who resembled Brooks, shot her from the back, and used her voice for some of the worst dubbing I've ever heard. It's really an interesting story. The result of all this effort, however, is a very uneven film that often feels cobbled together.Getting past the backstory, The Canary Murder Case is dull. It's an early talkie and it shows. They just didn't know how to shot sound. The plot has a reasonably interesting twist near the end, but it is telegraphed so far in advance that it shouldn't come as a surprise to anyone. Watching William Powell in this early Philo Vance effort, it's hard to believe this is the same man who would go on to play the absurdly (and I mean that in a good way) animated Nick Charles. Finally, the final reveal is so poorly shot that it's actually one of the duller moments of the film. What should have been the highlight is anything but.Overall, a 4/10 from me.

When Paramount decided to re-make their unreleased silent, "The Canary Murder Case" as a talkie, they faced two problems. The first was that the title star, Louise Brooks, had accepted an offer to work in Germany and refused to return. The second was that director Mal St Clair had no knowledge of sound technique. And perhaps it's true too that he supported Miss Brooks' stand. She and Paramount had parted on bad terms because the studio refused to honor her contract. In any event, Frank Tuttle was engaged to direct the talkie. In order to get around the Brooks problem, the studio wheeled in a double, Margaret Livingston. Not only did Miss Livingston dub the Canary's voice (in an atrocious Brooklyn accent yet!) but also substituted visually in back-to-the-camera long shots.So what we have is a movie in which all the Brooks close-ups (in fact all the shots which show her face), plus at least one short clip in a hotel corridor and maybe the long shot of the dancing chorus in the theater (and perhaps the location snip of the speeding car), were directed by Mal St Clair, whereas the rest of the action was directed by Frank Tuttle. A major headache for the editor indeed, and he is to be commended for a sterling job of work under extremely difficult circumstances. The pace is odd, the cutting unrhythmical and even jarringly abrupt at times, but at least the narrative still makes sense. Aside from Miss Livingston, the players do wonders with the not very convincing dialogue supplied by novelist S.S. Van Dine himself. Oddly, Eugene Palette copes best, giving a typically hearty impersonation of Sergeant Heath. On the other hand, Powell seems a little unsure of his character at this stage and is often content merely to rattle off his lines. The rest of the players are competent enough, if a little too theatrical at times, though comedian Ned Sparks seems miscast as a ruthless thug and Jean Arthur's fans are in for a considerable shock not only by the paucity of her part but by the most unattractive way she is presented and photographed.All the same, the film comes across as more than a mere curiosity. It not only bolsters the Brooks legend, but, if nothing else, it also presents a murder mystery that is not only reasonably intriguing but ingeniously solved.P.S. The actor who plays Sergeant Heath spells his name "Pallette", but IMDb's automatic spelling correcter refuses to acknowledge this.

One of the earliest private-eye talkies was "The Canary Murder Case," featuring William Powell as an American detective called Philo Vance ... later described by Raymond Chandler as "probably the most asinine character in detective fiction." This type of "classic" murder mystery, transposed to an American location, must have seemed a natural for early talkie producers: few sets, all interiors, a lot of talk and little of that difficult action stuff which meant the camera might have to move around… Like filming a stage play, in fact. Here was an opportunity to set up the static camera in its enclosed booth and let the actors get on with the job… Most of these films turned out to be the dullest ever made… It wasn't the fault of William Powell, who played Philo Vance with wit and elegance… It was the fault of a basic misconception in making private-detective movies… Powell played Vance four times... Others who, followed him were: Paul Lukas, Edmund Lowe, Warren Williams, Grant Richards, James Stephenson and Alan Curtis

I have been a fan of S.S. Van Dine's "Philo Vance" novels since I was a kid. I have recently purchased the first editions of most of his catalogue. I have read about this movie for years, and being a HUGE admirer of Louise Brooks, I could not wait to see this film.Although I have always been fascinated by early sound films, this is one is a textbook case of the problems encountered by the studios at the time. It is slow beyond belief. It is more than obvious that Louise's speaking parts are dubbed. The editors chose long shots so it wasn't as noticeable----it didn't work! Powell's Philo Vance bears no resemblance to the colorful character in the novels. I give this film a "3" rating simply for Brooks' beauty.